In the Mariinsky Ballet’s second programme, Chopin and Liszt are the basis upon which three key 20th century choreographers reinterpret romantic ballet. Namely, Michel Fokine, with whom Diaghilev created his Ballets Russes; Jerome Robbins, symbol together with Balanchine of North America’s neoclassical dance since the New York City Ballet, and Frederick Ashton, the Royal Ballet’s great founder. With Chopiniana, Fokine takes us into an oneiric world, leaded by the character of the poet and his muses, the sylphides, dressed in long white tutus. In his already classic In the Night, Robbins acquires his inspiration from Chopin as well, endowing three couple of dancers with a singular personality through his intimate nocturnes. Ashton, on his side, adapts the novel La Dame aux Camélias for his famous and passionate ballet Marguerite and Armand, based on Franz Liszt’s Piano sonata in B minor. He created the ballet for the couple of stars of the time, Margot Fonteyn and Rudolf Nureyev, who in the night of the premiere in 1963, had to take a bow twenty one times due to the applause of the audience attending Covent Garden.

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